Història

Lliçó 29. Temes de l’art mobiliari

En tots els suports i tipus de peces artístiques mobles del Plistocè Superior els temes figuratius resulten molt constants i reiteratius, de tal manera que és factible reduir-los a una terna fonamental: antropomorfs (amb formes humanes), zoomorfs (figures d’animals) i ideomorfs (dissenys lineals, geomètrics o abstractes).

Un advertiment inicial. La tradició judeo-cristiana representa el concepte de Pau amb la paloma bíblica que va retornar a l’arca de Noè amb una branca d’olivera al bec. Si desconeguéssim la seva simbologia, la descriuríem com «tema animalístic: paloma» o, com a molt, «paloma construint un niu» en fixar-nos amb el motiu vegetal que duu al bec. Cal, doncs, anar amb molt de compte a l’hora de fer les classificacions i identificacions, i mirar de no aplicar els nostres esquemes mentals i significats a les manifestacions artístiques del passat.

1. Antropomorfs

Entre els motius de temàtica humana es pot diferenciar les peces per gènere, masculines i femenines, i s’observen divergències en els tractament, així com moments d’àlgid i de declivi en la seva producció. Atès l’esquematisme d’alguns dissenys, es prefereix parlar de temes antropomorfes i no categoritzar-los de figures humanes

1.1. Masculins

Cal deixar constància de l’escàs nombre d’imatges que admeten ser classificades clarament com a masculines.

Per una banda, es troben les figuracions parcials que representen el «concepte humà» tant masculí com femení a través d’un tret anatòmic individualitzador i característic, que recau en els atributs que ajuden a dissociar el dimorfisme sexual: el penis en el cas de l’home i els pits-vulva en el de les dones. D’aquesta manera, el tema antropomorf masculí parcial estaria integrat per elements d’índole fàl·lica, com certs bastons perforats amb el relleu del gland en un extrem i d’altres més realistes.

fallus_Laugerie
Bloc de pedra amb representació de fal·lus de l’abric de Laugerie-Haute

fallus_Hohle
Fal·lus de la cova Hohle Fel. 28.000 anys.         Fal·lus de la cova de Vogelherd.
fallus_Fronsac
Fal·lus tallat a la paret de la cova de Fronsac (Vieux-Mareuile, France) amb l’edema característic del prepuci de parafimosi
fallus_Castanet
Representacions fàl·liques sobre suport moble: Castanet, La Madeleine, Blanchard, La Madeleine, Le Forne du Diable, i Roc de Marcamps (d’esquerra a dreta)
basto_Pendo
Bastó de la cova d’El Pendo. 13-11.500 anys. 136 x 23 x 9 mm

priap_Laussel
Príap de Laussel. 22.000 anys

Pel que fa als dissenys totals, és molt problemàtic parlar de retrats, tot i que les plaquetes del jaciment de La Marche es podrien catalogar dins d’aquesta categoria (però sembla que només hi ha aquest tipus de figures durant el Magdalenià III de La Marche)   La-Marche

Aquestes imatges de La Marche es varen perdre després que van sorgir dubtes sobre la seva autenticitat o interpretació

Les siluetes masculines tampoc són massa abundants. Es reconeixen per la seva actitud itifàl·lica o per les pilositats facials o la manca de pits destacats. Casares_PiscosEscena de coit de la cova Los Casares    Humà en actitud d’ejaculació, gravat de Ribeira dos Piscos, Foz Coa
antropomorfs_itifallics
Antropomorfs itifàl·lics de Lascaux, Hornos de la Peña y Altamira (calcs H. Breuil). rodet_Azil2

Saint-Cirq (Le Buge).        Antropomorf itifàl·lic sobre fragment de rodet de Mas d´Azil.

Finalment, les figures humanes masculines manifesten una mena de bestialització, com si haguessin sofert un procés d’hibridació entre l’animal i l’home, donant com a fruit individus antropo-zoomorfitzats. És el cas de l’home/dona de Stadel, de les figures de Teyjat o del xaman de Trois Frères.
home_ocell_Lascaux
Formes antropomorfes en el bastó de Teyjat (segons Brueil)     Home ocell de Lascaux

itifallics_Trois_Freres
Representacions híbrides itifàl·liques de Trois Frères

escena_sexual
Escena d’índole sexual d´Addaura             Escena d’índole sexual de Les Combarelles

1.2. Femenins

Les representacions femenines es prodiguen més que les masculines en l’art del Plistocè, en diversos suports, modalitats, tècniques i dissenys.
segognole
La cova Ségognole 3 al bosc de Fontainebleau

Les figures parcials estan reduïdes als elements vulvars, de vegades naturalistes i altres molt esquematitzats; en síntesi, es resolen amb un triangle de base superior, circumferència o tres quarts, i un traç rectilini vertical a l’interior. Els exemples clàssics corresponen amb els gravats sobre blocs de l’Aurinyacià de La Ferrasie, Blanchard…

Pel que fa als retrats femenins esdevé complicat trobar obres que permetin definir-les com a retrats. La Venus de Brassempouy en seria l’excepció. Tot i la simplicitat de formes del rostre, la seva construcció i el pentinat elaborat porten a pensar que potser es va voler dotar a l’escultura de determinats caràcters identificatius d’una persona particular. Un altre possible retrat femení seria el cap esculpit en ivori de Dolní-Vêstonice, que presenta un desequilibri en el tractament de la lateralitat facial, atès que part de la boca i un ull semblen mal acabats, com desdibuixats respecte l’altre sector del rostre, més proporcionat i detallat, i que curiosament fou trobada en una sepultura propera al cadàver d’una dona d’uns 40 anys que mostrava deformacions patològiques a la cara i a la mandíbula.
Brassempouy
Dama de Brassempouy. Ivori de mamut. 26-24.000.  3,65 x 2,2 x 1,9 cm.

dona_Dolni_Vestonice
Cap de dona de Dolní-Vêstonice. Ivori de mamut. 23.000 anys. 4,8 cm

Les siluetes femenines coincideixen amb els episodis epigonals del Tardiglacial. Es tracta de contorns estilitzats sintètics de dones, de vegades molt esquematitzats, amb indicació dels pits, maluc i natges, amb el cap i les extremitats inferiors només esbossades. Són molt abundants des de l’Europa de l’Est a la de l’Oest , des del jaciment de Pékarna, a Moràvia, a La Roche, a la Dordonya francesa, en diferents suports i tècniques (gravats en plaquetes, tallat en atzabeja i matèria orgànica). Les plaquetes de Gönnersdorf presenten les siluetes més variades.
Gonnersdorf
Plaquetes de Gönnersdorf. Siluetes femenines sobre esquist. 12.600 anys. 11,8 x 10,8 cm.Nebra
Figura femenina de Nebra. Ivori. 15.000 anys. 7 cm      Siluetes femenines de Nebra.

Les figures humanes femenines pròpiament dites conformen el conjunt de les mal anomenades Venus. Són figuretes exemptes (excepte les de Pataud i Laussel que són baix relleus) fetes en diverses substàncies (pedra, ivori, ceràmica) durant el Gravetià. Se solen agrupar en tres zones, occidentals, orientals o russes i siberianes, en funció de les seves morfologies i distribució geogràfica. Les occidentals (i gran part de les russes) representen dones nues i sense cara, en les anatomies de les quals es marquen uns pits voluminosos, així com els malucs, cames només insinuades i braços –quan n’hi ha– posats damunt dels pits o per sota.

Leroi-Gourhan va establir un cànon figuratiu: dividint l’eix vertical per l’eix transversal màxim (que el marquen els malucs) les figures queden seccionades en dos sectors amb un equilibri de volums en ambdues meitats (superior i inferior), de tal manera que la construcció partiria d’un cercle (delimitat pels malucs) que engloba la zona central i dos triangles oposats i tangents al cercle que inscriuen respectivament l’inferior les extremitats i el superior espatlles-punt central del cap, oferint una composició romboïdal. A més, existeix una isometria clara i idèntica entre els exemplars de Lespugue i Kostienki: a partir del punt central es tenen dues mesures iguals a) que coincideix cap a dalt amb l’inici dels pits i cap avall amb el pubis i, des d’aquests punts, altres dues equidistàncies b) acoten els extrems de les escultures (cap i peus) i si superposem  els valors «a» sobre els «b» obtindrem les distàncies que marquen, per una banda, l’inici dels pits amb la barbeta i, per l’altra, el genoll amb l’inici de la cuixa.esquema_figures_femeninesEsquema constructiu de les figures femenines segons Leroi-Gourhan: Lespugue, Kostienki, Dolní-Vêstonice, Laussel, Willendorf, dues peces de Gargarino, Grimaldi esquema_LespugueIsometria de les figures femenines de Lespugue i Kostienki

Aquest esquema isomètric està reiterat a pràcticament tots els exemplars distribuïts en un ampli territori distanciat per milers de quilòmetres, cosa que ratifica uns elements comuns supraregionals a l’època, recolzant la unitat cultural d’Europa durant el Gravetià.

Per altra banda, les figuretes orientals (russes) presenten detalls d’ornaments a la cintura, collars i braçalets com si actuessin a nivell formal d’estadi intermedi entre les venus occidentals i les siberianes, ja que aquestes desentonen de les que hem vist pel fet d’anar vestides i formular proporcions constructives diferents.

Segons Delporte, les figuretes més occidentals pràcticament no indiquen la cabellera i el cabell és curt, en contra de la melena llarga de les figures siberianes. Els elements del rostre estan absents en les primeres i quasi sempre patents en les segones. Els pits i malucs són prominents en les europees i plans a les altres. També en la part inferior del cos es contraposen: pelvis més ampla que el tors versus pelvis igual d’ampla que el tors; desequilibri natges-malucs versus desequilibri malucs-natges; cames articulades –genolls– versus cames sense articulació; extremitats separades i sense perforació versusextremitats juntes. Les figuretes siberianes de Malta i Buret solen estar vestides.
Kostienski

Kostienki. Pedra calcària. 23-21000 anys             Mal’ta. Ivori de mamut. 22.000 anys 

2. Zoomorfs 

En quantificar les obres d’art moble es pot deduir una primera conclusió en relació als seus protagonistes: els temes són acaparats pels animals i els signes. I pel que fa als animals la biodiversitat materialitzada és molt escassa: uns 12 animals. Això ens ha d’alertar sobre el significat de les imatges, atès que si considerem la ingent varietat biològica (fauna I flora) que envoltava i era aprofitada per les societats de recol·lectors-caçadors del Plistocè, s’hauria de projectar en els dissenys portàtils un nombre més grans d’espècimens i, tanmateix, estem davant d’una dràstica reducció: es dóna, doncs, una selecció intencional dels individus.

I, al mateix temps, aquestes espècies privilegiades mantenen un rang percentual desigual, en dominar quantitativament unes poques el panorama. Les podem agrupar en cinc blocs:

  • cavall, bison-ur
  • caprí, cèrvid (cérvola I cérvol)
  • mamut, os, carnívors
  • rinoceront, híbrids, aus, peixos
  • coleòpters, serps, llagosta

Els dos primers blocs absorbeixen la majoria de casos. A l’art moble el que és habitual és trobar zoomorfs que representen a èquids, bovins, caprins i cèrvids.

Oiartzun
Ossos gravats del magdalenià. Torre (Oiartzun).

3. Ideomorfs

Els motius lineals, geomètrics en general, els qualificats com ideomorfs, abstraccions o grafies, signes en definitiva, són una constant en l’àmbit artístic mobiliari. Pràcticament totes les peces mobles posseeixen dissenys que entren a formar part d’aquestes categories figuratives.

El signes solen anar associats a animals, tot i que en moltes ocasions ho fan en solitari, o en combinacions molt complexes sobre un únic suport. Sauvet[1] n’ha efectuat una sistematització. Distingeix els temes bàsics: formes elementals (punts i línies) obertes i formes planes o tancades (triangles, cercles…).ideomorfs

Distribució geogràfica de l’art mobiliari 

El conjunt de peces d’art mobiliari de datació plistocena puja a milers de peces (unes 30.000) i augmenta cada any amb les noves excavacions.

Trobem zones més propenses que unes altres a conservar una més gran quantitat i certs tipus de peces, o que han estat explorades amb més èmfasi (cosa que depèn dels projectes dels prehistoriadors i de tradicions acadèmiques). Si els Pirineus, Dordonya i el Cantàbric són «zones nuclears», qualitativament i quantitativament parlant, no s’ha d’oblidar que és perquè un nodrit grup d’equips científics s’hi ha dedicat durant els darrers cent anys.

Tenim també horitzons culturals molt més prolix en la producció mobiliària que els seus antecedents, com s’esdevé amb el magdalenià Mitjà d’Europa Occidental, fins el punt que s’està proposant com una fase cultural regional més que com un episodi cronocultural.

A més, la repartició no és homogènia, atès que hi ha uns pocs jaciments que sumen gran quantitat d’objectes: La Marche (més de 1.500 peces), Enlène (1.200), La Vache, La Madeleine, Laugerie-Basse, Gönnersdorf (més de 500), EL Parpalló (6.000).

L’art mobiliari paleolític, des d’una òptica diacrònica, no presenta les mateixes característiques ni evolució en tot el continent europeu. No ens ha d’estranyar que les dates sovint no coincideixin del tot i que no a totes les zones es donin els mateixos períodes.

Mas_Azil
Entrada nord de la cova de Mas d’Azil, Ariège

aurinyaciagravetiasolutria1solutria2epigravetiamagdalenia1magdalenia2


[1] Sauvet, G. (1990). «Les signes dans l’Art mobilier» a L’art des objets au Paléolithique. París. Pàgs. 83-99

[2] Michael Bolus, Nicholas J. Conard: «The late Middle Paleolithic and earliest Upper Paleolithic in Central Europe and their relevance for the Out of Africa hipótesis». Quaternary International  nº 75 (2001) pàgs.29-40

[3] Vandiver, P.B.; Soffer, O.; Klima, B. I Svoboda, J. (1990): «Venuses and wolverines: the origins of ceramic technology, ca. 26.000 BP» a Kingery, W.D. (ed.): Technology and Style(Ceramics and Civilization). Westerville. The American Ceramic Society. Vol. II, pàgs. 13-81.

Joan Campàs    Aura digital
Curs: Orígens de l’Art i evolució humana: l’homo significans
Estudis d’Arts i Humanitats de la UOC

Materials del curs en format .pdf

1. Una visió de conjunt de l’art paleolític
2. El paleolític: cronologia i referències etnoarqueològiques
3. Evolució tecnològica en el Paleolític. Referències etnoarqueològiques de l’hàbitat
4. La construcció del coneixement de l’art del Paleolític
5. El paradigma d’Henri Breuil i la seva crisi

6. L’estructuralisme de Leroi-Gourhan i Annette Laming-Emperaire
7. Del xamanisme a l’art com expressió de l’organització social
8. El procés evolutiu: Darwin i la selecció natural
9. Darwin i la selecció sexual. El cicle menstrual
10. La selecció sexual: la competència espermàtica
11. La selecció sexual: l’orgasme femení

12. Sobre els orígens de l’art: les coalicions de dones pintades
13. Una perspectiva ecològica de l’evolució humana
14. Els primers hominoides
15. Els homínids: els preaustralopitecins
16. Els hominins: els australopitecins
17. Paranthropus
18. Els primers Homo: Homo habilis
19. El poblament d’Euràsia: l’homo ergaster/erectus
20. Homo antecessor, rhodesiensis, heidelbergensis i floresiensis
21. L’Homo neanderthalensis
22. L’Homo sapiens
23. Sobre el concepte d’art
24. Les primeres expressions artístiques
25.  Sobre els orígens de l’art del Plistocè
26. L’art rupestre del Plistocè
27. Temes i distribució de l’art parietal
28. L’art moble del Plistocè
29. Temes de l’art mobiliari
30. Art mobiliari del Paleolític Superior. Interpretacions
31. Sobre els orígens del llenguatge

236 comments

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  2. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  3. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  4. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  5. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

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  10. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

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  12. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  13. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

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  15. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

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  19. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  20. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  21. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  22. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  23. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  24. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  25. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  26. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  27. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  28. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

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  30. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  31. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  32. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

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  123. Some tips i have observed in terms of pc memory is that often there are specs such as SDRAM, DDR and the like, that must fit the specifications of the motherboard. If the personal computer’s motherboard is pretty current and there are no operating-system issues, improving the ram literally requires under a couple of hours. It’s among the easiest personal computer upgrade methods one can think about. Thanks for giving your ideas.

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  127. One thing I’d like to say is before buying more pc memory, take a look at the machine directly into which it will be installed. Should the machine can be running Windows XP, for instance, the particular memory ceiling is 3.25GB. The installation of in excess of this would merely constitute just a waste. Make sure one’s motherboard can handle the upgrade quantity, as well. Thanks for your blog post.

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